Sebastiano Serlio in Lyon. Architecture and printing. Edited by Sylvie Deswarte Rosa. Part Two

Translation by Francesco Mazzaferro
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Sebastiano Serlio à Lyon. Architecture et imprimerie. 
[Sebastiano Serlio in Lyon. Architecture and printing] 

Volume 1. Le Traité d’Architecture de Sebastiano Serlio. Une grande entreprise éditoriale au XVIe siècle

Edited by Sylvie Deswarte Rosa

Part Two

Sebastiano Serlio. Front-cover of book III (1544 - but 1545 - Venetian edition)
Source: http://digi.ub.uni-heidelberg.de/diglit/serlio1544

Go back to Part One

Sebastiano Serlio in Lyon is not just a book on Sebastiano Serlio, but it is also a very important occasion for reasoning on the architecture of the sixteenth century and the dissemination of classicism in Europe. In the second and third part of this review, we are displaying the index of the work. For some of the many essays presented in the volume we will also provide some general comments on contents.

Préface 

Christof Thoenes. Architecture de la Renaissance et art de l’imprimerie (Renaissance architecture and art of printing);

PARTE PRIMA - L’édition du Traité d’architecture de Serlio (The edition of the Treatise of Architecture by Serlio)

• Introduction générale: Sylvie Deswarte-Rosa. Le Traité d’architecture de Sebastiano Serlio, l’œuvre d’une vie (Le Traité d’architecture de Sebastiano Serlio, l’œuvre d’une vie): the contents of the general introduction is, in fact, what has been shown in the first part of this review
• Introduction: Mario Carpo. Un traité en sept livres: structure et méthode d’une théorie de l’architecture pour l’âge de l’imprimé (A treatise in seven books: structure and method of architectural theory for the age of print.)

Venise: Le Livre IV (1537) et le Livre III (1540) de Serlio (Venice: The Book IV (1537) and the Book III (1540) by Serlio):

• Prolégomènes: Deborah Howard. Les neuf gravures des ordres d’architecture à Venise en 1528 (The nine engravings on the orders of architecture in Venice in 1528)

The nine engravings were published by Serlio on his arrival in Venice in 1528, with the help of the engraver Agostino de Musi. Only three orders are taken into account: the Doric, Ionic and Corinthian. To each of them are devoted three illustrations, which represent the basis, capital and frieze of every order.

Sebastiano Serlio, Libro III 1544 (but 1545) Venetian edition - External view of the Pantheon
Source: http://digi.ub.uni-heidelberg.de/diglit/serlio1544

Le Livre IV (1537) et le Livre III (1540) (The Book IV (1537) and the Book III (1540))

• Yves Pauwels. Les Regole ou Quarto Libro de Sebastiano Serlio (Venise, Marcolini, 1537) (The Rules or the Fourth Book by Sebastiano Serlio (Venise, Marcolini, 1537)).
• Frédérique Lemerle. Le Terzo Libro de Sebastiano Serlio (Venise, Marcolini, 1540) (The Third Book of Sebastiano Serlio (Venise, Marcolini, 1540)).

L’imprimeur Francesco Marcolini (The Printer Francesco Marcolini)

• Marie-Cécile van Hasselt. Francesco Marcolini, éditeur-typographe (actif à Venise, 1534-1559) (Francesco Marcolini, editor-typographer (active in Venice, 1534-1559)).

Francesco Marcolini, a native of Forlì, exercised his typographic-editorial activities in Venice between 1534 and 1559, with a break of three years (1546-1549) during which the printer stayed in Cyprus. Marcolini’s typographic production was not extremely large, but of a very high quality. Marcolini was mainly the publisher of many works by Pietro Aretino. Without any doubt, Marcolini owes to Aretino and to his friendship with Serlio the fact that he ended up being also the printer of the Bolognese architect. In a letter addressed by Aretino to Marcolini and reported at the beginning of the Book IV of Serlio, the sender makes even a tribute to the architect from Bologna and says to be glad that he gave priority to the publication of Serlio (1537) and therefore postponed the release of the Book I of his Letters by a few months (in this work, reference is made to a letter dated September 10, 1537; in the edition of the Letters commented by Fidenzio Pertile, however, the date is September 16, 1537 (Milan, Edizioni del Milione, Volume I, pp. 67-69)). On the relations between Serlio, Aretino and Marcolini see Sylvie Deswarte-Rose, Le Traité d'architecture de Sebastiano Serlio, the œuvre d'une vie, (The Treatise of architecture by Sebastiano Serlio Treaty, a lifetime work,) and particularly pp. 45-48.

On the publication of technical treatises by Marcolini, on his interests in the fields of architecture and engineering, see below Louis Cellauro, Marcolini, l’architecture et la technologie mécanique (Marcolini, architecture and mechanical technology). Here, for completeness, it is worth mentioning that Marcolini was also the publisher of Doni and that he printed the first edition of the Le imagini de i dei degli antichi (Images of the gods of the ancients) by Vincenzo Cartari (1556).

Sebastiano Serlio, Book III, 1544 (but 1545) Venetian Edition - Internal view of the Pantheon
Source: http://digi.ub.uni-heidelberg.de/diglit/serlio1544

• Louis Cellauro. Marcolini, l’architecture et la technologie mécanique (Marcolini, architecture and mechanical technology).

The Book IV of Serlio’s Treatise, i.e. the Regole generali di architetura sopra le cinque maniere de gli edifici (General Rules of Architecture over the five manners of the buildings) was the first work of a technical nature published by Marcolini. The Book III followed, which was printed in 1540. The Book IV was reproduced in two subsequent editions (always by Marcolini) in 1540 (but in reality in 1541) and in 1544 (again, in reality in 1545). Of the Book III, a second edition appeared in 1544 (indeed, in 1545). On this, see below Manuela Morresi, Andrea Guerra. Les rééditions vénitiennes des livres de Serlio (Venetian reprints of the books by Serlio) and especially Bibliographia Serliana. Catalogue des éditions du traité imprimées des livres d'architecture de Sebastiano Serlio (1537-1681) (Bibliography on Serlio. Catalogue of printed editions of the books of architectural treatise of Sebastiano Serlio - 1537-1681), edited by Magali Vène. A clarification is imposed on the indication of a double year as to the publication, for the new editions of Book III and IV: the date mentioned in the colophon follows the use of Venice, according to which the year began on March 1. For this reason, for example, the date appearing on the second edition of the Book IV (Feb 1540) is actually to be read as February 1541.

Among other publications on architecture by Marcolini, one should remember the Regola di far perfettamente col compasso la voluta e il capitello ionico (Rule to make perfect use of the compass to produce a volute and a Ionic capital) by Giuseppe Porta, also called Salviati (1552), Duo libri del modo di fare le fortificationi di terra intorno alla città e di fare i forti di campagna (Two books on the way of building up fortifications around the city and land fortresses) by Giacomo Lanteri (1559), but above all the first print (princeps) of De architectura (On architecture) of Vitruvius in 1556, with comments by Daniele Barbaro (while the second edition was printed in 1567 by Francesco de' Franceschi). Beyond the publications issued, Marcolini cultivated personally interests in architecture and engineering: as reported by Aretino, he tried on his own the construction of a "superb" wooden bridge in Murano; Barbaro himself mentions him in his comment as "an ingenious investigator of beautiful machines". Anton Francesco Doni, in the Seconda Libraria (Second Library) cites an unpublished (and now lost) treatise, entitled Discorso sopra tutti gl’ingegneri antichi e moderni (Discourse on all ancient and modern engineers).

• Marie-Cécile van Hasselt. Les traités techniques imprimés (The printed technical treatises).
• Marie-Cécile van Hasselt. L’encadrement architectural à cariatides du Livre IV (The Caryatid architectural framing on Book IV).
• Marie-Cécile van Hasselt. L’alphabet figuré architectural de Marcolini (Marcolini’s architectural figured alphabet).

Paris: Les Livres I e II (1545) et le Livre V (1547) de Serlio (Paris: The Books I and II (1545) and the Book V (1547) by Serlio)

• Marie Madeleine Fontaine. Serlio et l’entourage de Marguerite de Navarre (Serlio and the entourage of Marguerite de Navarre)
• Annie Charon-Parent. Serlio et ses imprimeurs parisiens (Serlio et his Parisian printers).

The Books I and II of Serlio’s Treaty were published in Paris in 1545, in a bilingual edition, by the editor Jean Barbé and with the French translation by Jean Martin. Two years later, the same Jean Martin will produce the first French translation of De Architectura (On Architecture) by Vitruvius with the heirs of the late Jean Barbé. The Book V was instead published in 1547, also in Paris, by the editors Conrad Bade and Michel de Vascosan.

• Mario Carpo. Jean Martin, traducteur de Serlio, 1545-1547 (Jean Martin, translator by Serlio, 1545-1547).

Jean Martin was a prolific translator of ancient and modern Italian works; on architecture are to be remembers, in addition to the translation of Books I, II and V by Sebastiano Serlio, those of the Hypnerotomachia Poliphili, the De Architectura (On Architecture) of Vitruvius and the De re aedificatoria (On the art of creating buildings) of Leon Battista Alberti.

• Mario Carpo. Le Primo Libro traduit par Jean Martin (Paris, Jean Barbé, 1545), édition bilingue (The First Book translated by Jean Martin) (Paris, Jean Barbé, 1545), bilingual edition).
• Mario Carpo. Le Secondo Libro traduit par Jean Martin (Paris, Jean Barbé, 1545), édition bilingue (The Second Book translated by Jean Martin) (Paris, Jean Barbé, 1545), bilingual edition).
• Anne-Marie Sankovitch. Le Quinto Libro traduit par Jean Martin (Paris, Michel de Vascosan, 1547), édition bilingue (The Fifth Book translated by Jean Martin) (Paris, Michel de Vascosan, 1547), bilingual edition.

Lyon: Le Livre Extraordinaire (1551) et le Livre VI de Serlio (Lyon: The Extraordinary Book (1551) and the Book VI of Serlio)

Le Livre Extraordinaire (The Extraordinary Book): 

• Mario Carpo. Le Livre Extraordinaire (Lyon, Jean de Tournes, 1551), édition bilingue (The Extraordinary Book) (Lyon, Jean de Tournes, 1551), bilingual edition.

The Extraordinary Book was published in Lyon in 1551 by Jean de Tournes. As it is well known (see Part One), it is a book that does not appear in the original plan of the work, presented to the public with the Book IV in 1537. The Extraordinary Book consists of a collection of 50 plates depicting models of portals, of which thirty "rustic" and twenty "classic" one. It is a fact that the work was very successful and was eventually considered, especially in France and Germany, as a kind of "catalogue" that any architect was able to show to his customers, giving them an opportunity to choose the preferred model. From a theoretical point of view the interpretation of the Extraordinary Book is undoubtedly the most difficult, because it is certainly here that the "licentious" Serlio shows major dissonance with Serlio as a Vitruvian interpreter. It is described, for example, as a "backwards" work: by showing the errors, it clarifies the models to be follow; it has been said, much more simply, that the "rustic" models represent the senile evolution of the style of an architect now addicted to the French aesthetic canons; moreover, a line of interpretation has also developed that identifies hidden heterodox religious motivations, compared to the counterreformation positions discussed in those years in the Council of Trent (see, about this, Mario Carpo, La maschera e il modello. Teoria architettonica ed evangelismo nell’Extraordinario Libro di Sebastiano Serlio - The mask and the model. Architectural Theory and Evangelism in the Extraordinary Book by Sebastiano Serlio). A manuscript with a previous version of the Extraordinary Book was traced only in 1985 at the Augsburg library. See below Johannes Erichsen, Le manuscrit de l’Extraordinario Libro conservé à Augsbourg (The manuscript of the Extraordinary Book conserved in Augsburg)

• Johannes Erichsen. Le manuscrit de l’Extraordinario Libro conservé à Augsbourg (The manuscript of the Extraordinary Book conserved in Augsburg)

The manuscript 2° Cod 496, conserved at the Staats-und Stadtbibliothek of the Bavarian city of Augsburg, was identified only in 1985 and contains a version (surely hand-written by Sebastiano Serlio) of the Extraordinary Book – it is a previous than (and in many ways a different version from) the work published in Lyon in 1551. In his contribution, Erichsen flags that, wrongly so, the importance of the manuscript might be considered minor, since the work was eventually published. "Today, however, it is giving the manuscript a particular interest: it allows the study of the drafting phases. The differences, between the drawings as well as between the texts of the manuscript and the printed edition of 1551, provide valuable insights into the artistic and literature ambitions of the author in the last phase of his activity"(p. 147). It is extremely likely that the manuscript was originally included among those sold by Sebastiano Serlio to Jacopo Strada.

Le Livre VI (The Book VI)

• Myra Nan Rosenfeld. Le dialogue de Serlio avec ses lecteurs et mécènes en France dans le Sesto Libro (Serlio’s dialogue with his readers and sponsors in France, in the Sixth Book)

The Book VI of Serlio’s Treatise has never been published up to the present day in practice. Two manuscript versions are known, in addition to some printing proofs which suggest the existence of a third and most advanced stage of manufacture, now unfortunately lost. A first manuscript is preserved with signature AA 520 Se 694 F at the Avery Architectural and Fine Arts Library of the Columbia University in New York. According to Ms Rosenfeld, this text was begun by Serlio in Fontainebleau in 1541, but was revised and amended until 1551. The second version - the most famous one - is the one located at the Bayerische Staatsbibliothek (Bavarian State Library) in Monaco (signature Cod. Icon. 189). Dedicated to Henry II, it was presumably written between 1547 and 1550. The National Library of Vienna also preserves a volume (signature 72.P.20) that collects some printing proofs of the Book VI; Having carefully considered the evidence, we would assume the existence of a third manuscript, chronologically following the first two ones, probably drafted in occasion of the purchase of Serlio’s documentation by Jacopo Strada.

The Munich manuscript was sold to Jacopo Strada in the circumstances mentioned in other occasions (see Part One). It is interesting to note, to the contrary, that the copy of New York remained in France (i.e. was not sold to Strada) and it was definitely for a certain period in the availability of Jacques Androuet du Cerceau, who, by his own, added hand nine titles in French. This fact must be remembered, in order to understand how, even unpublished, the Book VI exerted its influence on French architectural circles of the era.

• Myra Nan Rosenfeld. Le manuscrit du Sesto Libro conservé à New York (The manuscript of the Sixth Book conserved in New York).
• Francesco Paolo Fiore. Le manuscrit du Sesto Libro conservé à Munich (The manuscript of the Sixth Book conserved in Munich).
• Francesco Paolo Fiore. Les épreuves d’imprimerie du Sesto Libro conservées à Vienne (The printing proofs of the Sixth Book conserved in Vienna)

Sebastiano Serlio, Book III, 1544 Venetian Edition - The church of S.Agnese fuori le Mura (Rome)
Source: http://digi.ub.uni-heidelberg.de/diglit/serlio1544

Francfort: Le Livre VII (1575) et la Castrametatio dit Livre VIII de Serlio (The Book VII (1575) and the Castrametatio, also called Book VIII, by Serlio)

Le Livre VII:

• Dirck J. Jansen. Le rôle de Strada comme éditeur du Settimo Libro de Serlio (Strada’s role as the editor of the Seventh Book by Serlio);

The Book VII of the Treatise by Serlio was published posthumously in Frankfurt, in the year 1575. To take responsibility of the edition, produced by André Wechel, was Jacopo Strada, i.e. the one who had bought from Serlio himself all his manuscripts and a collection of his drawings, in 1553. Jacopo Strada (1515-1588), a noble from Mantua, had soon established himself as a connoisseur of antiquities, especially - but not only – as a numismatic antiquarian, and had assumed a not-secondary role on the art market of the time, with his transfer in Nuremberg in 1544. He met there the wealthy German patron Hans Jakob Fugger, who financed his travels and purchases in the European markets. The meeting with Sebastiano Serlio in Lyon dates back to 1550. It also dates this year, according to reports from the Mantuan in the Book VII, the purchase of manuscripts and drawings. However, it seems more correct to think that a first principle agreement had been reached on the matter in 1550, but that the property transfer itself took place in 1553, during Strada’s second stay in Lyon and a few months only before the death of Serlio.

The personality of Strada cannot be simply described as a pure collector. It is certain, for example, that the noble from Mantua had ambitious (even too ambitious) publishing projects: the aim (shared by Fugger) was to print richly illustrated and of high quality works, to help spread knowledge in a new and more effective way. Hence, the presence of Strada in Lyon, a publishing centre of European importance (just in Lyon, in 1553, Strada published his first volume, an Epitome antiquitatum thesauri - Epitome of ancient treasures); and with this perspective – and not only that of a pure collector, then one should read the purchase of the material from Serlio. In fact, of all the manuscripts left by Serlio, Strada managed to publish merely the Book VII, and only in 1575. There is no doubt that the numerous and prestigious assignments given to Jacopo prevented him to achieve a more complete and timely implementation of the project: between 1558 and 1579 Strada served three emperors, as their architect and antiquarian, and only in the early 1570s the Mantuan obtained a reduction of his duties, being thus able thereafter to take up the editorial projects previously set aside. Thus, Jacopo moved to Venice, in an environment which the engraver knew well and which he trusted, leaving his son Ottavio in Nuremberg, to deal with the actual printing. On the other hand, the Emperor Maximilian II, being unable (or unwilling) to be of a great help from a financial point of view, commended the work and the project to many potential patrons in Germany and Italy. In 1574, the emperor granted him a privilege for seven titles intended to be published shortly. In 1575, Strada prepared a publishing schedule of a much broader scope (comprising fifty titles); it was a sort of publishing catalogue which Strada never ceased to present to nobles, always with the hope of being able to obtain adequate funding for the publication of at least a part of titles, even after the death of Maximilian and the rupture of relations with his son Ottavio. In fact, among the titles in his "catalogue", only a Commentary of Julius Caesar and, in fact, the Book VII (but not the Castrametatio, or, as he called improperly, the Book VIII by Serlio) were eventually produced. On the publishing by Jacopo Strada see also the other contributions of J. Dirck Jansen listed below.

In particular, the letter that Ottavio Strada addresses to his father, at the end of 1574, allows us to know interesting details on the preparation of the Book VII (which, to be remembered, was published in a bilingual edition, Italian and Latin). The text by Serlio was corrected by a Protestant aristocratic from Siena, Mino Celsi, and reviewed by an unspecified Mantuan Doctor; it is also possible that the Latin translation was by some means the work of another Protestant exiled from Italy, the Marquis Giovan Bernardino Bonifacio, who definitely played the same role in the edition of the Commentaries by Caesar.

Of the Book VII there is also a handwritten version, now preserved with signature Cod. Ser. Nov. 2649 at the National Library in Vienna. The comparison of the manuscript version with the printed book allows us to see that in the course of the edition some topics have been added and others have been revised, so as to suspect the existence of a second manuscript (by hand of Serlio?) which today we do not know.

• Dirck J. Jansen. Le catalogue d’éditeur de Jacopo Strada (The editing catalogue of Jacopo Strada).
• Dirck J. Jansen. L’édition des Commentaires de César par Jacopo Strada (The edition of the Commentaries to Ceasar by Jacopo Strada).
• Dirck J. Jansen. La lettre d’Ottavio Strada à son père (The letter of Ottavio Strada to his father).
• Tancredi Carunchio. Le manuscrit du Settimo Libro conservé à Vienne (The manuscript of Book VII preserved in Vienna).
• Tancredi Carunchio. Le Settimo Libro, Francfort-sur-le-Main, 1575 (The Seventh Book, Frankfurt am Main, 1575)
• Jean Guillaume. À propos de Symeoni et du vingt-troisième projet de villa du Settimo Libro (On Symeoni and the project of the 23rd villa of the Seventh Book).
• Aurora Scotti. Un exemple de la fortune du Settimo Libro à l’époque baroque: la villa en forme de moulin à vent de Serlio (An exemple of the fortune of the Seventh Book in the Barock time: the villa in form of a windmill by Serlio)

La Castrametatio (appelée Livre VIII) (The Castrametatio (called Book VIII)):

• Francesco Paolo Fiore. L’architecture de Sebastiano Serlio et la Castramétation des Romains selon Polybe (The architecture of Sebastiano Serlio and the Castrametatio of the Romains according to Polybius).
• Francesco Paolo Fiore. Le manuscrit du Livre VIII conservé à Munich (The manuscript of the Book VIII conserved in Munich).

Sebastiano Serlio, Book III, 1544 Venetiam Edition - The 'Tempietto' of S, Pietro in Montorio by Donato Bramante
Source. http://digi.ub.uni-heidelberg.de/diglit/serlio1544

SECOND PART – Les rééditions et traductions du Traité d’architecture de Serlio (The reissues and translations of the Treatise of Architecture by Serlio)

Introduction: Frédérique Lemerle. La diffusion du traité de Serlio en Europe: rééditions et traductions (The dissemination of the Treatise by Serlio en Europe: re-issues and translations)

Venise: Rééditions des Livres et éditions d’ensemble du Traité d’architecture de Serlio (Re-issues of the Books and comprehensive editions of the Treatise of architecture by Serlio):

• Manuela Morresi, Andrea Guerra. Les rééditions vénitiennes des livres de Serlio (The Venician re-issues of the Books by Serlio).

As we have already had occasion to say (cfr. Louis Cellauro, Marcolini, l’architecture et la technologie mécanique - Marcolini, architecture and mechanical technology), the first editions of the Venetian Books IV and III of the Treatise by Serlio are published by Francesco Marcolini as a direct indication by Serlio himself. The second edition of the Book IV appears in 1541, a few months before Serlio’s departure for France. Besides a new dedication to Alfonso d'Avalos, some fixes can be found on some controversial points concerning the most obscure passages from Vitruvius. The adjustments are probably the result of discussions held by Serlio with Giuseppe Porta, also called Salviati on the design of the Ionic volute (eleven years after, Marcolini will publish the Regola di far perfettamente col compasso la voluta e il capitello ionico (Rule to make perfect use of the compass to produce a volute and a Ionic capital) and with Guillaume Philandrier, present in Venice between 1536 and 1539 and author of the Annotations on Vitruvius, published in Rome in 1544. The fact remains that until 1545 (the year of publication of the third edition of the Book IV), the changes of a greater or a lesser extent to the text appear to be the result of the same workgroup and the same Venetian scholar environment which on the one hand is concerned to respond to the criticism from Philandrier and more generally from the circles that gather around the Roman Accademia vitruviana o della Virtù (Vitruvian or Virtue Academy) by Claudio Tolomei, and on the other hand are committed to legitimize the work produced up to that time (of which Serlio is the highest expression). Things will change from 1551, when Melchiorre Sessa (who had bought engravings of the Treaty from Marcolini) publishes the first entire edition in Italian of the five books of Serlio. Therefore, in addition to the Books III and IV, the Books I, II and V (published in 1545 and in 1547 in France) are also brought to the market. A series of interventions are conducted on the text, arguably prepared without the consent of Serlio, who is also still living. The process knows several, more or less significant stages. It is worth mentioning, for example, the 1566 edition of the Books I to V and the Extraordinary Book by Francesco de' Franceschi (the year after, he will publish the second edition of Vitruvius, commented by Daniele Barbaro). De’ Franceschi himself, in 1569, will provide an edition in Latin of the Treatise by Serlio. The double version reveals precise commercial choices: on the one hand the adaptation of the writings of Serlio towards the form of a manual, with smaller volumes, the elimination of much of the paratext (and consequent chronological de-contextualization of the work), a more affordable price for the public, and a linguistic revision to eliminate the latinisms by Serlio, replacing them with the "Tuscan" of an anonymous probably identifiable with Cosimo Bartoli; on the other hand, a richer Latin version aimed at a European audience of bibliophiles and scholars. The transformation of the treatise into a manual continues with the issue of Serlio’s seven books, also published by Francesco de' Franceschi in 1584; it is published for the first time in Italy the Book VII, printed in Frankfurt in 1575, while the Book VI, unpublished until recent years, is replaced by the Extraordinary Book. The by far most important aspect consists of a large index, placed at the beginning of the Treatise, whose paternity is assigned to Giandomenico Scamozzi, the father of the architect Vincenzo. Giandomenico dies in 1582, and his son, according to what reported in the presentation, only tweaks marginally his father's work. In fact, the cross-examination of this issue as well as of the similar one of 1600 leads us to believe that the index should be entirely attributed to Vincenzo and that the choice to turn it up to Giandomenico has been made, on the one hand, for an understandable form of filial affection and, on the other one, for the precise design to create a "family myth" that supported the career of Vincenzo, who had recently become an architect of the Republic. The latest Serlio’s edition of the Venetian Treaty dates back to 1663, by Sebastiano Combi and Giovanni La Nou: we are now in the field of a publishing antiquarian. The one of Serlio is no longer even a manual, but simply a rare text, a curiosity, of which an amended and unfortunate version is produced.

• Andrea Guerra. La réédition des Regole generali et du Terzo Libro à Venise chez Francesco Marcolini en 1545 (The re-issuance of the General Rules and of the Third Book in Venice at Francesco Marcolini’s publishing house in 1545).
• Andrea Guerra. La réédition des Livres I à V chez Melchiorre Sessa en 1551, à Venise (The ré-édition of Books I to V at Melchiorre Sessa’s publishing house in Venice in 1551 inVenise).
• Manuela Morresi. La réédition des Livres I à V et de l’Extraordinario Libro à Venise chez Francesco de’ Franceschi en 1566 (The re-issuance of Books I and V and the Extraordinary Book in Venice at Francesco de’ Franceschi’s publishing house in 1556).
• Manuela Morresi. L’édition de la traduction latine, De architectura libri quinque, à Venise chez Francesco de’ Franceschi en 1569 (The edition of the Latin edition, De architectura libri quinque, in Venice at Francesco de’ Franceschi’s publishing house in 1569)
• Manuela Morresi. L’édition de Tutte l’Opere d’Architettura à Venise chez Francesco de’ Franceschi en 1584 (The edition of All the works of architecture in Venice at Francesco de’ Franceschi’s publishing house in 1584)
• Manuela Morresi. La réédition de Tutte l’Opere d’Architettura à Venise chez les héritiers de Francesco de’ Franceschi en 1600 (The re-issuance of All the works of architecture in Venise at the heirs of Francesco de' Franceschi in 1600)

END OF PART TWO

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